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Greg Fox

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  1. 1.
    From the Cessation of What
    8:360:30
  2. 2.
    Vedana
    3:100:30
  3. 3.
    Arising and Passing
    4:530:30
  4. 4.
    Parasthesia
    5:460:30
  5. 5.
    Contact (sukha & somanassa)
    3:130:30
Any sound, repeated quickly enough, becomes a sustained tone, and any sound slowed down will start to beat.
Imagined as a line, music stretches between the endpoints of drumming and singing. Greg Fox is that line. However much technique is displayed in his playing, Fox moves through musical stages in a transformative—rather than a performative—way. Contact is built largely from the work of a person alone in a room, using his body to make sense of the surfaces around him. It was exactly that when it was recorded in November of 2018 at Figure 8 Studios in Brooklyn. For obvious reasons, it is even more that now. Created in close unison with producer Randall Dunn, Contact makes the acoustic drum set talk and sing and see.
There are washes of triggered keyboards and bells and synthetic tonalities on Contact, but all of it follows the lead of the drums. It’s a record of rhythms that isn’t a beat record. Fox’s drumming is full but considered, like an enormous stone arm pushing slowly through a forest.
Contact occupies a space of energized meditation, neither mellow nor aggressive. It rolls the way Fox rolls. All of his musical experience flows into this record. If you know his past, you’ll understand his present. Fox has played with Liturgy, Zs, Ex-Eye, Guardian Alien, Ben Frost, Colin Stetson, and dozens of other people.
-Sasha Frere-Jones, 2020

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